artvideo photos on Flickr

Important notice: This is only a shooting within the framework of a video art project. The author of this video is fighting AGAINST real violence, dictatorship, terrorism, crime and all kinds of inhumanity in the world!!!

Peroni Italian Beer 🍻 by hacbs

*** by Andrey x

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Boston (Lumix G85 & Nikon Nikkor f/1.2 lens) by Josh Rokman

The song in the video is my own original creation called "Pink Sandstorm". You can check it out (downloadable) here: soundcloud.com/josh-rokman/pink-sandstorm

This is the first of what will be several videos to come out of this trip to Boston with my new Lumix G85. I am very pleased with the video quality that I can get with this camera and my Nikon Nikkor f/1.2 lens).

The video was shot at f/1.2, which is key to getting very high quality out of the lens. The frame rate is 24fps. Post-processing and other editing was done in Kdenlive.

- Josh

Opal Sea by Daniel Jean-Baptiste Silk Art

A silk painting demonstration

pure singleness and the scottish parliamentary cross-party group on culture by stan bonnar

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i attended the annual general meeting of the stove artists collective in dumfries the other night. after all the formalities were over, they had organized a group discussion on public art, and this was facilitated by two groups - dot to dot active arts (blyth, northumberland) and the open jar collective (glasgow). also there were mark lyken and emma dove (who are currently artists in residence at the stove). this meeting of minds took place in an underground car park (closed to cars but not to skateboarders) and the various spaces of this dark cave were illuminated - some by moving images projected onto sheets, some by sculptural installations.

all these artists are actively and intimately involved with people. i would describe their art practice as mindful listening - cupped hands held open in places where people are - people fill the cup with all sorts of ideas and things. some of these leak away - filtered through fingers, but some remain for people and artist to see more clearly, and perhaps to make something of - a work of environmental art, of social art? but i also see the work of these artists as indicative of a greater search for cultural equanimity that started after the second world war. a continuing response by the individual to the excesses of technological globalization. but what drives such a human response - an ethical impulse - a quest for fairness?

human beings are naturally universal, by which i mean that our ideas and impulses are the very fabric of the universe. if the universe has a capacity to be unthinking, then so do we. if we are ethical and mindful, then the universe is ethical and mindful. we extend as the universe, and the universe extends as us - we are things like any other.

i will now try to take you on a trip into the universe as i understand it. i want us to consider the following quotation which is the current wikipedia definition of quantum entanglement:

"Quantum entanglement is a physical phenomenon that occurs when pairs or groups of particles are generated or interact in ways such that the quantum state of each particle cannot be described independently—instead, a quantum state may be given for the system as a whole.

"Measurements of physical properties such as position, momentum, spin, polarization, etc. performed on entangled particles are found to be appropriately correlated. For example, if a pair of particles is generated in such a way that their total spin is known to be zero, and one particle is found to have clockwise spin on a certain axis, then the spin of the other particle, measured on the same axis, will be found to be counterclockwise. Because of the nature of quantum measurement, however, this behavior gives rise to effects that can appear paradoxical: any measurement of a property of a particle can be seen as acting on that particle (e.g. by collapsing a number of superimposed states); and in the case of entangled particles, such action must be on the entangled system as a whole. It thus appears that one particle of an entangled pair "knows" what measurement has been performed on the other, and with what outcome, even though there is no known means for such information to be communicated between the particles, which at the time of measurement may be separated by arbitrarily large distances."

for me, the phenomenon of quantum entanglement/measurement seems to show that the nature of things in space and time is very much comprehended from the point of view of something, like ourselves, who is entangled in the system. it’s not possible to become physically disentangled from a physical universe of space and time, especially if we ourselves are by our very comprehending, projecting the physical universe. so what is the universe really like beyond our comprehending of it?

i think that the phenomenon of quantum entanglement shows that the universe is the extension of pure singleness, as which, we things project an infinite array of differently entangled realities of spacetime. the point is, that no matter where or when we look, we are looking at that thing with which we are entangled, which is ourself. we are our own differential comprehending of pure singleness.

i asked the question earlier concerning what drives the human ethical impulse - the quest for fairness to which social artists are compelled. the answer is clear that it is our pure singleness that drives such a quest. but how do things come into existence from pure singleness?

here is a representation of pure singleness…

.

…because of our nature as spatio-temporal things, this space in the text is the closest we can get to actually describing pure singleness. for us it is the pure singleness of ‘space’ which has no property other than that it can extend for a ‘time’. as ‘things in space and time’ is how we comprehend our own pure singleness. but what constitutes a thing?

if singleness has the property that it can extend as our understanding (and then as the comprehending of that which we understand), then our ‘thinghood’ is the symmetrical extending of pure singleness. what i mean by this is simply that there can be no extension without that which is extended from. a thing is always a symmetrical alterity of otherness - that very system of a particle mentioned in the wikipedia definition of quantum entanglement. a thing is always the symmetry of otherness, and although i comprehend myself as an individual, i am actually nothing but my difference from you.

there is no ‘thing-in-itself’ as such. a thing is not for example the cat which strolls past me on the pavement on a sunny day. rather the thing is pure singleness extending as symmetry of the universe - nuances of which are the cat, the pavement, the sun and me. nuances which constitute the thinghood of the things that i comprehend.

but as i hinted earlier, comprehending is nothing more than our comprehensive grasping together of a basic understanding that we have with otherness. understanding-with is the sheer symmetrical extending of pure singleness as the alterity of otherness. understanding-with is the basis of the universe. the cat, the pavement, the sun and i are all nothing but our difference from each other, and we create and recreate each other in the very moment of our understanding-with. this is the very spacing and temporalizing of pure singleness.

if i become conscious of the cat on the pavement, then for a few moments i will cultivate my understanding-with of the cat/pavement/sun/me thing. i might then nurture that initial cultivation by bending down to speak to the cat. if i then find that i am not only absorbed with this cat but with cats in general, i might join the cats protection league and be absorbed into a culture of cats and cat related things. in other words, i become ‘cultured’. the point is that there is no thing that is not cultured to some extent, and a thing that is cultured has been cultivated to be so. culture is the way of things.

if culture is the way of things, how best are we to nurture culture? by what means do we ackowledge the cultivation of things as cultures? do we simply celebrate cultural differences? of course we do, but this can be a hugely broad and insensitive brush stroke. rather, it is important to acknowledge the details of sophisticated cultural practice - literally for example, the manipulation of the nuts and bolts of a mechanics’ workplace.

many artists such as those whom i mentioned earlier, are deeply entangled with the cultures of others. they seek to interrogate, nurture and extend these cultures because they are very sensitive to the way of things. their work in these social contexts is at once public and intimately detailed. we might look on the scottish parliamentary cross party group on culture as a place where cultural things become entangled - but the ultimate purpose of such a group must also be to nurture the cultures of others. if it does not, then it runs the risk of becoming nothing more than a showcase for the 'Arts Establishment'.

there is no limit to how art extends and where it can be found. at its most fundamental it is about the languages of cultural things and how they develop. the cross party group on culture must be sensitive to artists working with ‘nuts and bolts’ and enable them to become entangled with members of the scottish parliament. both groups are working to nurture cultural things - but artists also nurture the languages of things.

all over scotland, members of the scottish parliament and artists occupy the same localities, and these are where new cross-party group working parties should be founded.

stan bonnar 2014

to find out more, please visit

stanbonnar.net/

OURSELF - a strategy for councils by stan bonnar

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OURSELF

a strategy for councils

every thing is cultural. there is no ‘thing-in-itself’ as such. for every thing of meaning there extends an infinitely entangled environment of cultures - its means of meaning.

but this is not merely a philosophical point - this is physical. every thing which has meaning for us is an alter-universe - a universe of sheer otherness, which moment by moment we create and are created by.

we have seen from quantum physical experiments such as the ‘double slit’ experiment, that at subatomic scale, things can be arranged so that they are entangled - their effective relatedness is instantaneous. when one thing is shown to have a certain known characteristic, so instantly do we know the relative characteristic of the other. no matter how distant they are, time and space do not exist for entangled things - nor for their entangled observers.

what the phenomenon of quantum entanglement implies is that although we seem to inhabit this universe, our natural state is actually pure singleness, which we and other things create and cultivate as the realities of things around us. i call this pure singleness of difference ... OURSELF.

a strategy for creativity

our creativity is prior to our cultivated-ness as a physical thing. creativity is prior to culture; and before we can make a new strategy for culture, we must make a strategy for creativity. therefore the aim of any cultural strategy should be to open a space for universal and knowing creativity - unlimited by any preconception of creativity as somehow belonging only to ‘artists’ or ‘creatives’.

inasmuch as we are OURSELF entangled, creativity is quite literally universal. the idea of councils’ support for creativity should be to directly enable every person to experiment with their sensing and manipulation of everyday things and environments - to be creating a new idea of OURSELF.

contextual artists - people who instinctively and intentionally create new ideas of place - know what must be done. they know how to deconstruct and de-centre the logical concretions of what is here and now established. they know how to work for and with the other, to create new ideas of place. but this intimacy of common purpose should be without the glare of public knowledge, although it may well be in public space. for new ideas cannot be produced to order.

it is a most sacred human right and responsibility to extend in knowing creativity with other things.

but this moment of sacred creativity is being usurped by a mandate for success, by the need to be seen as a successful product, to be the sign of a successful economy. but creativity cannot be produced, systematised, categorised, wrapped up, bigged-up, box-ticked and sold off. creativity is life, it is the basis of cultures and economies. it is beauty, and if we look at it directly it will disappear.

for these reasons i place this idea before you - that it is CREATIVITY which must be fostered directly by the council. it must be fostered for its own sake - indifferent to ‘outcomes’. there should be a small creative group set up within the council… located between cultural and technical services… perhaps referring to the expertise of both when needed, but answerable to neither. this group would be answerable only to the democratically elected members of the council. it would be the remit of such a group to foster CREATIVITY. but it would have no targets, nor would it tick boxes to show successful outcomes. it would simply work with people and other established groups to disclose that which is hidden.

stan bonnar 2015

the complete photo/video collection (1972-2016) of Stan Bonnar's artworks is accessible here :

www.flickr.com/photos/stan_bonnars_artworks/collections

Moiety11.06[unilineal descent] by Lamar Williams

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Moiety11.06[unilineal descent]

Which side are you on? What side is right or wrong.

Music by Silent Partner

Created in Virtual Reality with Tilt Brush VR.

wish you were here by stan bonnar

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one evening in late october i was sitting on a bench in a park in the far west of our region. i was watching the sun setting over the sea and the ways that the clouds seemed to bend. i was remembering all the years i had spent as a door operator on the ferries, and i was wondering how Jimmy was doing.

i looked down at my watch, and so i didn’t see the seagull and the crow until the last few moments of their flying; one out the corner of each eye so to speak, directly towards each other and me from opposite directions, four feet above the straight tar path, with a closing velocity of 80 knots.

it all seemed to happen so slowly. the crow and the seagull meeting in mid air about a foot above my knees. there were feathers, there was muscle, there was blood. there were assorted bits of beak and claw, and webbing from a foot; and stinking portions of rabbit and of cod, and all kinds of eyes.

silence

drenched in bird remains like some strange coloured camouflage or costume, i jumped up in shock and whirled round to see where i’d been sitting.

the bench bespattered, but for the gap made by my body - old, green painted timber. suddenly the sun was gone and a chill wind rose out of Arran.

i was walking down the path (with my legs a bit apart because of the mess and the chafing) when up came this person. they asked me if i was alright, and as we walked back to town, i told them what had happened. they didn’t seem that surprised, so i asked them what they did. they said they were a county artist, so i asked what that was. they said they had just been working with parents from the parent and toddler group.

i asked them what that had to do with art, and they said that the mums & dads had just made a huge column out of dirty nappies for the middle of the traffic roundabout.

i asked them if they got paid for that sort of thing, and they said “yes, the council pay me to empower contextual art”

we walked on, but we didn’t say any more...

Stan Bonnar 2015

the complete photo/video collection (1972-2016) of Stan Bonnar's artworks is accessible here :

www.flickr.com/photos/stan_bonnars_artworks/collections

18 by Harvey Griffin

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pure singleness - seeing and understanding part 1 (revised) by stan bonnar

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monday 26th january 2015

yesterday, as part of bbc tv ‘ski sunday’ programme, the skier graham bell made a video whilst skiing the hahnenkamm downhill course at kitzbühel in austria.

today inspired by his run, i have started to write this critical text about how we see and understand things. my aim is to build the text here over the next few weeks.

tuesday 27th january 2015

we are going back to the beginning of bell’s hahnenkamm run, and on the way we will try to comprehend how all the things flashing past us come to exist - to extend in space and time.

we will also meditate on the means by which our own comprehending brings these things into existence - as a ‘grasping together’ of the extensive understandings that we have of our own pure singleness.

friday 30th january 2015

the notion of pure singleness is in response to the mysterious nature of things at atomic and subatomic scales, shown in the experiments and equations of quantum physics and quantum mechanics.

at very tiny scales, the characteristics of a particle are inherently uncertain; not until the particle is measured do it's characteristics lose their uncertainty. crucially, it is the act of measurement that forces the particle to have certain characteristics, such as a particular location or spin. this is well illustrated in the famous double slit experiment as described by theoretical physicist prof. jim al-khalili. in his 2013 talk at the royal institution…

www.youtube.com/watch?v=A9tKncAdlHQ

saturday 31st january 2015

quantum entanglement is a theoretical prediction which comes from the equations of quantum mechanics. two particles can become entangled if they are brought close together and their properties become linked. (at this point their exact characteristics remain uncertain.) quantum mechanics says that even if you separate these connected particles by arbitrarily large distances - say for example 100 light years - they can remain inextricably connected, or entangled. its not until the uncertainties of the one particle are measured, that its characteristics - and crucially those of its entangled ‘self at a distance’ become certain. in other words, crucially, measuring the state of one entangled particle actually changes the state of the other.

monday 2nd february 2015

pure singleness

the paradoxical nature of quantum measurement suggests that we are fundamentally entangled with the things we seek to comprehend. and when elementary things such as atoms are comprehended, and specifically ‘measured’, this entanglement becomes apparent.

we must therefore assume that the quantum ‘paradox’ is so only to entities such as we, whose basic existence is quantized (based in difference). we cannot assume that prior to our differential comprehending as ‘things in time and space’, that difference is the actual 'way'. in other words, just because we cannot comprehend things prior to their difference, does not mean that there is not a condition prior to difference. this is indeed what the quantum paradox suggests.

let us say that there extends a condition prior to the difference of things in time and space, which we will call the pure singleness of difference, or ‘pure singleness.’ it is our task in this text to comprehend how things come into existence as the extending of pure singleness.

tuesday 3rd february 2015

we have no means of comprehending or describing pure singleness, other than to emphasise that this is both our condition and the condition of every other thing around us. it is our basic understanding with things around us that forms the space and time in which we comprehend them. it is the grasping together of our extensive understandings with them that makes things real…

.

…although they seem somewhat distant, we are not actually separated from these things rushing past our eyes. rather, each moment of time and space is a product of our basic understanding with (our extending-with) others. each moment happens as an alternating with the other, for which i become real as you and you become real as me. this is the actual extending of pure singleness as basic understanding (understanding-with).

the crucial point is that i see a thing because i am that thing. i see a thing as different from myself, because as pure singleness, i am the extending of that different thing, as it is the extending of me.

wednesday 4th february 2015

although we cannot comprehend pure singleness, from our perspective as quantized things in time and space (beings), we can and must make some assumptions. the first is that for us, pure singleness must be an extending. the second is that for us, pure singleness must be an extending as difference. the third is that pure singleness extends symmetrically. the fourth is that pure singleness extends as the total symmetry of all differences. in other words, although the complex diversity of things around us seems anything but symmetrical, the sum total of all these differences always adds up to the absolute symmetry of pure singleness.

we have now come to the beginning of graham bell’s hahnenkamm run, with much still to consider. that being the case, we will simply set off again. but this time we will be skiing downhill and flipped - into the symmetry of pure singleness.

continued in part 2

the complete photo/video collection (1972-2016) of Stan Bonnar's artworks is accessible here :

www.flickr.com/photos/stan_bonnars_artworks/collections

Video by Matt Lingo http://www.mattlingo.com/ Soundtrack by The Vells: Blue Blue Bones courtesy of Imputor? Records Location: La Bodega San Diego CA by Acamonchi

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Unique Urban Pet Portraits of Cats and Dogs by Acamonchi

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acamonchi-art.com | instagram acamonchi

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Béla Borbély: Painting in Motion by Béla Borbély

Orangutan 70 x 100 cm, Mixed Technique

Music: Huma-Huma

study for TOTALITY OF THE SAME - 1982. For full contextual details please visit my website at: by stan bonnar

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stanbonnar.net/

proposal - six glass houses - with writing by stan bonnar

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date : 1997

description : this proposal was for six glass houses to have been sited in orchard Street, Derry/Londonderry, in Northern Ireland. the site is adjacent to the city wall, on either side of the newgate bastion, and the wall at this place would have been an integral component of the artwork. each glass house would be sixteen feet long, seven feet wide, and nine feet high, and be of 13mm toughened and laminated glass construction in an anodised aluminium and irish oakwood frame. each glass house would contain soil to a depth of about two feet, with three horticultural luminaires suspended above the soil. the soil would be taken from the exact line of the political border between the Republic of Ireland and Northern Ireland, being thoroughly dried and sterilized before installation.

1997 artist's statement

intellectual context : thinking which seems to prevail in the west, in the latter half of the 20th century, has begun to question how we construct the world as such. we read that spoken language is the basis of this structure, and that our linguistic relationship to the things around us is representational. we re-present things in the physical environment by words, and by doing this we are able to fix them into a linguistic world structure, as objects standing in reserve for the use of a technological society. this is how we have capitalized on our relationship of dominance over them. that we have begun to question this dominance or ownership, has perhaps been prompted by recent events in the physical environment. much contemporary art tries to deal with the relationship of subject to object (or the denial of this relationship) and of our understanding of time on which it founds itself. this often results in works of apparent abject, naked desperation, because when social structure is placed in jeopardy, there is no world. my current thinking concerns an anomaly in this artistic setup, in that it is precisely just that. what I say is that these experiments can never be anything more than examples of how to deconstruct, and not actual deconstructions, so long as they take place under the auspices of the construct 'Art'. what is so intriguing about this project in Derry/Londonderry, is that it will take place in a street, of a city, of land that has known abject desperation. there is no need to find it, or manipulate it into art. it is simply here in people's memories, and this could lay open the unique possibility for real development in language. i anticipate that people will write on the surface of the glass houses. in fact, spray painted 'graffiti' (slogans like 'IRA' and 'UVF') would be a catalyst for the meaning of the work. but to discourage the possibility of more vigorous inscription, and to encourage a feeling of personal and community investment in the work, we should develop a strategy aimed at creating the right atmosphere around the project, and for disseminating information about its basic elements. as part of this initiative, i would live and work on site, for the duration of the project.

concept : the glass houses pertain to their situation, and they perform as one component of a work of art that can be viewed and thought about. like any work of art, they operate at the periphery of colloquial language, in a domain of ambiguities. i can attempt to write some of these down, but the list is by no means definitive:

• with careful design and construction, the six glass houses could be seen as special places of sacred nurturing. almost like small temples. but they would also be empty of life, with dry sterile soil, almost like dust. their internal space would be quite distant; is that the distance of the spiritual or of the incarcerated?

• a warm glow from the horticultural luminaires inspects the soil for signs of life, but it also gives a dark, and distant glimpse of prison lighting.

• the soil they contain is taken from six places on the exact boundary between two political structures. it has become thoroughly mixed up in the process, and it rejects all claims to ownership. any territorial slogans spray painted onto the glass would instantly become associated with colourful flowers in a greenhouse.

• the city wall is an important part of the artwork. the impregnability of its defensive structure as such could be interrogated, when seen through the glass houses.

• territorial marking is a language composed equally from territory and marks. it is already well established in Derry/Londonderry, and is a language perhaps more symbolic and spatial than signifying and linear. because the soil within the six glass houses would reject any claim to ownership, when the first writing does take place on their surface, a new more poetic syntax would be formed. a written language that cannot be derived from dominating speech, but which can only be written as a subtle difference from the surface on which it is written.

• in effect it would reduce 'territory' to ground, and reinstate marking as arche-writing.

• a mythogrammic language such as this might have ancient associations, and to refer to Doire or Daire seems right. this is why the main stanchions and beams of the glass houses are to be made from irish oak wood. the whole space here could be an oak grove of the mind.

stanbonnar.net/

Béla Borbély: Painting in Motion by Béla Borbély

Relations 2014. 100 x 150 cm oil,canvas

Music: Chris Zabriskie

SHIMMER by stan bonnar

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the complete photo/video collection (1972-2016) of Stan Bonnar's artworks is accessible here :

www.flickr.com/photos/stan_bonnars_artworks/collections

Béla Borbély: Graphic Art in Motion by Béla Borbély

Spirit of the Ancestors 40 x 40 cm, aquarelle, clack ink on paper

Music: Audionautix

pure singleness and the scottish parliamentary cross-party group on culture (first revision) by stan bonnar